tale.fyi

The Counterfeiters ▾
contents
  1. Part I
  2. I
  3. II The Profitendieus There is no trace in Poussin’s letters of any feeling of obligation towards his parents. He never in later days showed any regret at having left them; transplanted to Rome of his own free will, he lost all desire to return to his home—and even, it would seem, all recollection of it. Paul Desjardins (Poussin)
  4. III Bernard and Olivier “Plenty and peace breeds cowards; hardness ever Of hardiness is mother.” Cymbeline, Act III, scene VI
  5. IV Vincent and the Comte de Passavant Mon père était une bête, mais ma mère avait de l’esprit; elle était quiétiste; c’était une petite femme douce qui me disait souvent: Mon fils, vous serez damné. Mais cela ne lui faisait pas de peine. Fontenelle
  6. V Vincent Meets Passavant at Lady Griffith’s C’était une âme et un corps où n’entrait jamais l’aiguillon. Sainte-Beuve
  7. VI Bernard Awakens We are all bastards; And that most venerable man which I Did call my father, was I know not where When I was stamped. Shakespeare: Cymbeline
  8. VII
  9. VIII Edouard and Laura Il faut choisir d’aimer les femmes ou de les connaître; il n’y a pas de milieu. Chamfort
  10. IX
  11. X
  12. XI
  13. XII
  14. XIII Edouard’s Journal: First Visit to La Pérouse On tire peu de service des vieillards. Vauvenargues
  15. XIV Bernard and Laura Il arrive quelquefois des accidents dans la vie, d’où il faut être un peu fou pour se bien tirer. La Rochefoucauld
  16. XV
  17. XVI
  18. XVII
  19. XVIII
  20. Part II
  21. I
  22. II
  23. III
  24. IV
  25. V Edouard’s Journal: Conversation with Sophroniska C’est ce qui arrive de presque toutes les maladies de l’esprit humain qu’on se flatte d’avoir guéries. On les répercute seulement, comme on dit en médecine, et on leur en substitue d’autres. Sainte-Beuve (Lundis, I, p. 19)
  26. VI From Olivier to Bernard Il y a de certains défauts qui, bien mis en œuvre brillent plus que la vertu même. La Rochefoucauld
  27. VII
  28. Part III
  29. I Edouard’s Journal: Oscar Molinier Son retour à Paris ne lui causa point de plaisir. Flaubert: L’Education Sentimentale
  30. II
  31. III
  32. IV
  33. V Olivier Meets Bernard Il ne faut prendre, si je ne me trompe, que la fleur de chaque objet. … Fénelon
  34. VI
  35. VII
  36. VIII
  37. IX
  38. X Olivier’s Convalescence Rien n’est simple de ce qui s’offre à l’âme; et l’âme ne s’offre jamais simple à aucun sujet. Pascal
  39. XI
  40. XII
  41. XIII
  42. XIV
  43. XV
  44. XVI
  45. XVII
  46. XVIII
  47. XIX
  48. XX
  49. Endnotes
English ▾

The Counterfeiters

André Gide, translated by Dorothy Bussy

free · 121,182 words · 12 h 9 m audiobook, read by Thomas A. Copeland for LibriVox · first published 1925

text from Standard Ebooks

scroll plz ↓continue ↓

(start over)

I dedicate
this, my first novel,
to
Roger Martin du Gard
in token of profound
friendship
A. G.

Part I

Paris

I

The Luxembourg Gardens

“The time has now come for me to hear a step in the passage,” said Bernard to himself. He raised his head and listened. Nothing! His father and elder brother were away at the law-courts; his mother paying visits; his sister at a concert; as for his small brother Caloub—the youngest—he was safely shut up for the whole afternoon in his day-school. Bernard Profitendieu had stayed at home to cram for his bachot;1 he had only three more weeks before him. His family respected his solitude—not so the demon! Although Bernard had stripped off his coat, he was stifling. The window that looked on to the street stood open, but it let in nothing but heat. His forehead was streaming. A drop of perspiration came dripping from his nose and fell on to the letter he was holding in his hand.

“Pretending to be a tear!” thought he. “But it’s better to sweat than to weep.”

Yes; the date was conclusive. No one could be in question but him, Bernard himself. Impossible to doubt it. The letter was addressed to his mother—a love-letter—seventeen years old, unsigned.

“What can this initial stand for? A V? It might just as well be an N. … Would it be becoming to question my mother? … We must give her credit for good taste. I’m free to imagine he’s a prince. It wouldn’t advance matters much to know that I was the son of a rapscallion. There’s no better cure for the fear of taking after one’s father, than not to know who he is. The mere fact of enquiry binds one. The only thing to do is to welcome deliverance and not attempt to go any deeper. Besides which, I’ve had sufficient for the day.”

Bernard folded the letter up again. It was on paper of the same size and shape as the other twelve in the packet. They were tied up with pink ribbon which there had been no need for him to untie, and which he was easily able to slip round the bundle again to keep it tight. He put the bundle back into the casket and the casket back into the drawer of the console-table. The drawer was not open. It had yielded its secret from above. Bernard fitted together the pieces of wood which formed its top, and which were made to support a heavy slab of onyx, readjusted the slab carefully and gently, and put back in their places on the top, a pair of glass candelabra and a cumbersome clock, which he had been amusing himself by repairing.

The clock struck four. He had set it to the right time.

“His Honour the judge and his learned son the barrister will not be back before six. I shall have time. When His Honour comes in he must find a letter from me on his writing table, informing him in eloquent terms of my departure. But before I write it, I feel that it’s absolutely essential to air my mind a little. I must talk to my dear Olivier, and make certain of a perch—at any rate a temporary one. Olivier, my friend, the time has come for me to put your good-fellowship to the test, and for you to show your mettle. The fine thing about our friendship so far has been that we have never made any use of one another. Pooh! it can’t be unpleasant to ask a favour that’s amusing to grant. The tiresome thing is that Olivier won’t be alone. Never mind! I shall have to take him aside. I want to appal him by my calm. It’s when things are most extraordinary that I feel most at home.”

The street where Bernard Profitendieu had lived until then was quite close to the Luxembourg Gardens. There, in the path that overlooks the Medici fountains, some of his schoolfellows were in the habit of meeting every Wednesday afternoon, between four and six. The talk was of art, philosophy, sport, politics and literature. Bernard walked to the gardens quickly, but as soon as he caught sight of Olivier Molinier through the railings, he slackened his pace. The gathering that day was more numerous than usual—because of the fine weather, no doubt. Some of the boys who were there were newcomers, whom Bernard had never seen before. Every one of them, as soon as he was in company with the others, lost his naturalness and began to act a part.

Olivier blushed when he saw Bernard coming up. He left the side of a young woman to whom he had been talking and walked away a little abruptly. Bernard was his most intimate friend, so that he took great pains not to show that he liked being with him; sometimes he would even pretend not to see him.

Before joining him, Bernard had to run the gauntlet of several groups and, as he himself affected not to be looking for Olivier, he lingered among the others.

Four of his schoolfellows were surrounding a little fellow with a beard and a pince-nez, who was perceptibly older than the rest. This was Dhurmer. He was holding a book and addressing one boy in particular, though at the same time he was obviously delighted that the others were listening.

“I can’t help it,” he was saying, “I’ve got as far as page thirty without coming across a single colour or a single word that makes a picture. He speaks of a woman and I don’t know whether her dress was red or blue. As far as I’m concerned, if there are no colours, it’s useless, I can see nothing.” And feeling that the less he was taken in earnest, the more he must exaggerate, he repeated: “—absolutely nothing!”

Bernard stopped attending; he thought it would be ill-mannered to walk away too quickly, but he began to listen to some others who were quarrelling behind him and who had been joined by Olivier after he had left the young woman; one of them was sitting on a bench, reading L’Action Française.

Amongst all these youths how grave Olivier Molinier looks! And yet he was one of the youngest. His face, his expression, which are still almost a child’s, reveal a mind older than his years. He blushes easily. There is something tender about him. But however gracious his manners, some kind of secret reserve, some kind of sensitive delicacy, keeps his schoolfellows at a distance. This is a grief to him. But for Bernard, it would be a greater grief still.

Molinier, like Bernard, had stayed a minute or two with each of the groups—out of a wish to be agreeable, not that anything he heard interested him. He leant over the reader’s shoulder, and Bernard, without turning round, heard him say:

“You shouldn’t read the papers—they’ll give you apoplexy.”

The other replied tartly: “As for you, the very name of Maurras makes you turn green.”

A third boy asked, deridingly: “Do Maurras’s articles amuse you?”

And the first answered: “They bore me bloody well stiff, but I think he’s right.”

Then a fourth, whose voice Bernard didn’t recognize: “Unless a thing bores you, you think there’s no depth in it.”

“You seem to think that one’s only got to be stupid to be funny.”

“Come along,” whispered Bernard, suddenly seizing Olivier by the arm and drawing him aside. “Answer quickly. I’m in a hurry. You told me you didn’t sleep on the same floor as your parents?”

“I’ve shown you the door of my room. It opens straight on to the staircase, half a floor below our flat.”

“Didn’t you say your brother slept with you?”

“George. Yes.”

“Are you two alone?”

“Yes.”

“Can the youngster hold his tongue?”

“If necessary.”

restoring your place…

fetching the rest…

Read next

  • A Portrait of the Artist as a Young Man James Joyce
    The prose literally grows up with Stephen, from baby talk to feverish theology, and the hellfire sermon in the middle will scare you even if you've never been Catholic. Slow going in spots, but if you like watching a mind assemble itself, this is that.
  • Moby Dick Herman Melville
    You settle in with Ishmael’s dry wit, Queequeg’s strange tenderness, and Melville’s gloriously unnecessary chapter on whale classification. It’s digressive, funny, and sometimes stubbornly slow, but Ahab’s grief-mad intensity gives all that wandering a dark pressure you keep thinking about.
  • Wuthering Heights Emily Brontë
    Fair warning, almost nobody in it is likable, and that's the point. Heathcliff and Cathy love each other like a grudge, the moors practically howl, and Nelly Dean gossips you through the whole wreck.

appears in

  • Le Monde's 100 Books of the Century

—

thank you for reading

The Counterfeiters by André Gide, translated by Dorothy Bussy. The text is in the US public domain, from the Standard Ebooks edition. Served from our own copy; read on their site for the full edition with images and typography.

Narrated by Thomas A. Copeland for LibriVox, also public domain.

First published in 1925.

tale.fyi